British Music

[TerraEpon]

Lovely - British light music is always welcome! Thanks very much for checking the Guild catalogue to avoid treading on their toes - despite their obvious intention to issue just about everything there are clearly some gaps which can still be filled.

I love light music big time, and wish the Guild series would be put up on eClassical.com so I could goto town DLing tons of stereo stuff...

Of course, even if one does 'tread' on Guild's toes, I do believe everything they issue is technically PD in Europe (and much of it NOT PD in the US....which always makes me wonder why Naxos has the restrictions but other companies don't), and thus legality actually wouldn't nessesarily be an issue here, to a point.

[eschiss1]

Are you referring to the pieces or the recordings? The 1922/1923 rule is not the only thing governing US copyright law to my (lack of) knowledge - it gets pretty complicated so near/far as I can tell from both IMSLP and Wikipedia - as to recordings, I now know that I know nothing, which is a start.

[albion]

The cantata Come, my way, my truth, my life by Daniel Jones (as performed under Charles Groves at the 1987 Swansea Festival) is now in Folder 7.

[albion]

Here are some useful listening notes about this substantial piece from the BBC Radio 3 website -

DANIEL JONES - COME MY WAY, MY TRUTH, MY LIFE

In Memory of John Aeron-Thomas

This work was commissioned by Mrs. Margaret Aeron-Thomas. The text is by George Herbert (1593-1633).

George Herbert was born in Montgomery Castle, the sea of a noble family; younger brother of a famous diplomat and philosopher, and with an exceptionally brilliant academic career behind him, he seemed certain of rapid advancement at court but, after some years, he suddenly chose to be ordained and became Vicar of Bemerton, a small village near Salisbury. This renunciation of worldly 'success' could hardly have been the result of simple frustrated ambition.

No doubt Herbert felt a growing disappointment, not with the failure of his career, but with life at court. At the same time there took place within him a significant process of change, a conflict that resolved itself finally into the certain conviction that he was called to the priesthood. As with some of the most deeply devout, his belief was strengthened by the struggles that shaped it. Herbert never concealed the hardships of the 'Way', he displayed them side by side with proclamations of joy in his only sacred publication, The Temple. Indeed, he himself called this book "a picture of the many spiritual conflicts that have passed between God and my soul, before I could subject mine to the will of Jesus my Master, in whose service I have now found perfect freedom."

The seven movements of the Cantata are arranged to follow the spiritual progress of George Herbert's belief.

1) The Call. This movement is introductory. The outstanding characteristic of Herbert's belief was its tenderness; the love of Christ is constantly emphasized in his poetry.

2) Choler. Here Herbert angrily rejects his belief and rebels against its retraining power. In the middle section he laments his loss of freedom and regrets his renunciation of courtly pleasures; these include literary fame ('Have I no bays to crown it?"). His anger rises again but, at the end, one word of Christ recalls him.

(3) Antiphon (i). A hymn of praise, more tender than exultant. Once again, the word 'love' is underlined; 'Praise be the God of Love'.

(4) Fantasia: 'Whither, O whither art thou fled??' This is the first line of a poem in which Herbert falls to the nadir of his spiritual life; he searches but God is nowhere to be found. His despair is more terrible than the anger of the rebel (in no. 2), who at least acknowledges the presence from which he flees. The movement is for orchestra only, but its main theme could be sung to the first words of the poem. To this is added a pattern of chords already heard in the middle section of No.2; it recurs not inappropriately, because at that point in No.2 the poet refers to his godless past.

(5) The Echo. Herbert plays the part of an innocent, learning by question and answer. It appears that the source of the answers is natural, an echo, repeating the last word or syllable of the question. Only at the end the truth is revealed; the music of the answer here is very slightly different from the music at the end of the question.

(6) Dialogue. Christian defies Death, and Death replies with menaces, Christian consigns Death to nothingness, and Death is annihilated with a final casual chord.

(7) Antiphon (ii). An exultant hymn of praise; Herbert invites the world to share his joy.

The structure of the Cantata is, broadly, a pattern of two groups of three movements on each side of a central movement, and to some extent the members of these groups correspond, 1 with 5, 2 with 6, 3 with 7. The orthodox arrangement of chorus and orchestra is limited to two movements (1 and 2). The first Antiphon (no.3) is for double chorus and orchestra, the sections alternating until they come to a final unison; the second (No.7) contrasts the women's section with the men's but with a refrain in which all join. No.4 is for orchestra only, No. 5 for chorus only, with a detached choral section "offstage". No. 6 is for tenor solo, chorus and orchestra. The device of reference to music previously heard is not much used. In No. 4 there is a chordal pattern from No. 2, and in No. 6 between the tenor's "Do they worst" and "I shall be one day better than before" the first five bars of the Cantata are played again by the orchestra. In No.7, sopranos and altos sing "But above all, the heart must bear the greatest part" to the main theme of the first movement.

The work is written in memory of John Aeron-Thomas. He was a true Christian, and can be imagined joining himself in this music, and in the person of a Christian defying and dismissing Death.

[albion]

Many thanks to Holger for very kindly providing a broadcast of Ruth Gipps' Symphony No.5 (1982) - I've put a copy of this file into the main BMB archive (Folder 8).

[Arbuckle]

Excellent to see more Gipps. Thanks, Holger

[albion]

Many thanks to Holger for very kindly providing a broadcast of Ruth Gipps' Symphony No.5 (1982) - I've put a copy of this file into the main BMB archive (Folder 8).

There is some quite severe pitch-wobble for the first five minutes or so - but bear with it as things improve thereafter!

[albion]

There is a very interesting note, particularly with regard to the fourth movement, about Ruth Gipps' 5th Symphony in (of all things) The Catholic Herald (14th March 1986), under the heading -

Reconciling the Mass with the Orchestra

This work was completed in October 1982 and is dedicated to Sir William Walton (and bears resemblances to his style in such work as his Overture Portsmouth Point). It is written for large orchestra which besides the usual amalgam has piccolo, three oboes, E flat and bass clarinets, three bassoons, six horns, three trumpets, three trombones, tuba, celesta, two harps and quite a full percussion section including vibraphone, xylophone, gong and castanets.

The first movement comes alive with a horn pipe theme running into a lyrical tune accompanied by lively, rhythmic bursts on woodwind. The recapitulation, after a short development, is long and [ends] with a slow vagueness reminiscent of Holst. The second movement in 5/4 time flows well but I feel its the least successful part of the work. The solo violin over the last three bars is similar in spirit to Vaughan Williams' Serenade to Music. The third movement is [a] Scherzo and Trio. A very "foggy" start. There follows a hornpipe theme on trumpets.

Now the intriguing fourth movement. "Mass for Orchestra" (no words) headed Missa Brevis although this form is a Mass without Creed and though a very short idea of Creed occurs, Missa Brevis would still on a wide view hold. Kyrie, Christe, Gloria and the parts of the Gloria illustrative of the sufferings of Christ are very effective. Hosanna in excelsis with horn and trumpet interjections is effective, Agnus dei and Dona nobis pacem rather conventional, and coda in the spirit of Mozart's Coronation Mass with trumpets and a heavy scoring, followed by quiet fade out on the idea of peace is strangely "give up the struggle" in spirit. Not my idea of peace or Christ's peace which is essential of the Mass, surely — "Lamb of God who takes away . . . . grant us peace".

Fr Tom Carroll SDB

[britishcomposer]

Anyone interested in a recording of the world premiere of Ronald Stevenson's 'In praise of Ben Dorain' (2007)?

[Holger]

First, thanks for posting these notes on Gipps' Symphony No. 5, Albion. Getting background information is always appreciated. Some time ago there was an interesting article about Ruth Gipps on MusicWeb International which also provided some more insights but it has been removed.

An upload of Ronald Stevenson's "In praise of Ben Dorain" would be fine, britishcomposer. Admittedly I had to do some research first to find out some basic facts about which kind of piece this is but it really seems to be interesting.

[albion]

Anyone interested in a recording of the world premiere of Ronald Stevenson's 'In praise of Ben Dorain' (2007)?

Yes, please!

In praise of Ben Dorain: Symphony for full chorus, chamber chorus, symphony orchestra and chamber orchestra, Gaelic text by Duncan Ban MacIntyre and translation by Hugh MacDiarmid (1962–2007)

I presume it is the following performance -

Scottish Opera Chorus / BBC Scottish Symphony Orchestra / James Grossmith
recorded at City Halls, Glasgow 19 January 2008

[britishcomposer]

Yes, Albion, that's right! I don't quite remember in what kind of quality my recording is but I hope it's good enough to get at least an impression of the virtues.
Too late for me now but I will try to get it ready tomorrow!

[albion]

First, thanks for posting these notes on Gipps' Symphony No. 5, Albion. Getting background information is always appreciated. Some time ago there was an interesting article about Ruth Gipps on MusicWeb International which also provided some more insights but it has been removed.

It was probably this one by the idiosyncratic (to say the least) David C.F. Wright - the Gipps article is certainly one of his better efforts and steers clear of the usual vitriolic, homophobic character assassinations -

http://www.wrightmusic.net/pdfs/ruth-gipps.pdf

[britishcomposer]

Stevenson (Ben Dorain) and McCabe (Songline) should be in the downloads section shortly.

I have to say that both recordings are in mono only. I didn't know how to handle audacity properly  at that time. Sorry for that.
Moreover there are a few occasional skips due to my then very bad internet connection. Feel free to replace my recordings in case anyone should offer a better one, Albion!

[Dundonnell]

Stevenson (Ben Dorain) and McCabe (Songline) should be in the downloads section shortly.

I have to say that both recordings are in mono only. I didn't know how to handle audacity properly  at that time. Sorry for that.
Moreover there are a few occasional skips due to my then very bad internet connection. Feel free to replace my recordings in case anyone should offer a better one, Albion!

I am having difficulties with the Stevenson Zip File. The McCabe Cello Concerto opens perfectly as per normal but the message I am getting with the Stevenson is that "the zip file is invalid".